Hocking and Snider see
Detroit as part of the continuing rhythm
of creation, decay, and rebirth. Their
cyclical view of time contrasts with industrys
dependence on innovation and obsolescence.
Exploring abandoned factories, churches,
homes, and schools, they collect objects
that are on the verge of being reclaimed
by natureweathered, rusty, decaying.
Returning to the studio,
Hocking and Snider sort the objects, sometimes
by type (bottles with bottles) or by color
or texture. At other times, they alter
the pieces, cutting or adding to them,
creating a new context. In Relics
the artists use the grid as the organizing
factor, filling hundreds of boxes with
recycled materials. In this space, the
individual units together result in resonances
and cacophonies, and the installation
as a whole inspires awe. The word "relics"
recalls the ancient or obsolete, but can
also refer to objects infused with religious
and mystical meaning.